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Unknown: You think about having another bass? Yeah, we did think of that, and at that time it was pretty much a question of finances. We thought of having stand up jazz bass player, but the group is pretty heavy in sound and thick. The

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arrangements were fairly thick, and the playing on many of the things is so thick that it's in two, three or four layers at the same time. And I question whether the string bass would really add that much. I would have liked to spread things out

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if we'd used string base. I noticed a couple of places did try and get to a certain jazz effect. Yes, he is. And actually the group is even more versatile

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than the in the album shows Well, I think sometimes hinder that actually, especially with doubling right well and, and the fact is, Tom, Tom Scott plays some piano and

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sings, and Jim Gordon plays guitar. Johnny Garen plays tenor, Mike noble and plays drums. So everybody really switches around, pretty much as a group. Well, I look forward to it. I'd love to do another album. As far as engagements, I

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don't know what what will happen, because everybody's so busy. Mike Dacey has his own company going now, hog fat productions. And Mike Melbourne is doing a lot of arranging. Of course, Tom arranging and playing with his own group, plus

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other groups and well, now Jim signed with Bob, yeah, and Jim horn is doing his own album. So it's that's the only drawback with the group is that everybody's so versatile and so busy that that would be the thing to overcome doing

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engagement. Did you ever play any live thing when you went into the studio, or since you've been in the studio as a group, no done nothing and we did no rehearsal? Yeah. Well, I think that comes from the fact that most of us do

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play together on a lot of days. Tell me something about your background. Well, there's not much to tell. I graduated from LA state, taught school for five years, and then I taught music in

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school, fourth grade through 11, traveling around as many as 14 schools at a time. John Carter doesn't say, did the same thing before the school board wiped everything out, yeah, and then I

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got into recording and started doing that for a living. That was by 1965 I guess. Yeah, 65 Yeah, okay. I worked the first freak out with Frank. Oh, I

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didn't know that. Yeah, the shrine and occasionally I play in a concert backing someone else or something. But since I got into recording, I haven't done any solo playing at all. But were you part of the

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original mothers you mentioned? Or No, I was the I was a member of the mother's Auxiliary. No, I didn't do the album. I did the concert, but not the album, because they have, you mean, the very first shrine things in 65

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and six? Yeah, I think it was six, the beginning of 66 because there's a long Hans. Work? Well, it's the very difficult, you know? He really writes

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difficult stuff. You grew up in Los Angeles, yeah, I moved here when I was 11. Well, Pennsylvania, 32 whereabouts in Pennsylvania, Jeanette, which is near Greensburg, which is 20 some

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miles Pittsburgh, Greenberg, Greensburg campus. Well, I was actually, I was actually, I guess I was actually born in, grew up in, I know state 50, coming back.

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God, I don't know. I haven't been back. I. So you want to tell me anything else about the album, or any of the tunes on it, lifetime, signature or whatever. Well, just the I think most of

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the tunes, particularly time stitch and thumbs up. Those were the ones where I allowed people the most time to stretch out and do what they want to do. I think one of the things, one of the strengths of the group, if it ever did do any appearances, is

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that what the public would hear in person is exactly what they hear in the album, in terms of the strength of the group, because there is no overdubbing, no engineering tricks, with the exception of the very end of thumbs up, where we use an

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oscillator or generator, whatever it is, and sped up the track. Other than that, everything is just what the group would do in person. You decide to issue engineering tricks because you couldn't

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afford them, or because you didn't want them, or both? Because, I think a lot of groups, and I've heard this from lay people as well as other musicians, a lot of groups, it sounds so great. Sounds so completely different

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most groups in person? Yeah. So that was one of the main things I wanted to do. Was like, straight ahead, no gimmicks, no tricks, just as the group would be performing in a club, for instance. What are you feeling about the avenue? I think that

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it came off well in terms of the basic concept. I think if we'd had more time rehearsal time, that it would have come off better than it did. But I think there's, there's some excellent solos and some good ensemble playing, and I think that that

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the guys in the group really tried to get into something. They didn't hold back. And when you do recording for a living, that's your tendency to hold back, to hold back and try and write, make everything well, not only that, but in your playing,

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you try so much to make everything correct. And that's like the antithesis of jazz playing where you try to make something come off, and if it doesn't, you try it again. Yeah, I think the guys handled that very well.

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Yeah, I got the impression that for what I took to be a group of studio musicians, yeah, right. I guess you have no you say you don't play much jazz. I gather you have a pretty extensive background.

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Yeah, listening and I, I tried. It was just a case of having to support a family, and I didn't want to try and do that on 70 bucks a week. No, although now it's, if you notice, there are a heck of a lot of groups with vibes. Yeah, I suppose, more

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than before. And there's even a rock group now called jewel. Can I tap your brain for anything here? Yeah, just kind of tell me what, what do you think about that's

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okay. I can stand well, what do you feel about it? Or anything else? Well, I wouldn't have gotten into it, really, if wouldn't gotten into it to begin with, at Gary's request, if I didn't know

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first of all the musicians involved, and also the concept that Gary had in mind, which was pretty free and and yet, or just pretty free, and not only jazz oriented, but pop oriented, which I think that there's a, you know, a big, big area now,

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especially with kids who are getting past the teenage group that they're trying they want to stretch out. I'm just, I think that this, this group is, you know, will lead them in that direct in the direction that they want to and hopefully to

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even better listening. And maybe we can provide feature the lineup of the guys, the musician, fantastic and at the time, funny. At the time that we did it was just about a year

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and a half the first day. Involved in group at the time were just starting to feel their oats. And now, well, you know what's happened to Tom Scott Mike, Melbourne has just skyrocketed as far as the.

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The availability is concerned, like they see for another one and Jimmy Gordon, John here. Do you have trouble getting that? But their their abilities have

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skyrocketed as well. And I think this album, it indicates those abilities a year and a half or earlier than are presently understood. Yeah, I always think of like blood, sweat and tears, which is

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an excellent group, but even in that case, I think their albums are well done and players play well, but there's still a sense at least, I feel like they're still restricting. Oh yeah, I feel it's very smooth. Yeah, right. The Jazz is quite polite,

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and the rock is, again, kind of polite, where I think spontaneous combustion name, and in a way, that is a good name. I think fusion was a little closer what was going on. But the group was like, You give the down Beatrice, and it explodes. So in

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that respect, that's the title of the group. It's a three legged group. But it's like one giant tripod consisting of three other tripods, each leg of the tripod having three members on it and

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one leg of the tripod being a rock member, another being a jazz member, another being a common denominator that ties everything together, following the legs up to one solid head that holds

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everything together. And I don't know what he said, use that title of the album. Yeah, I don't know anything at all about it. All about it. Well, I have more than enough to write this. Can I keep

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it done now? Sure I'm going to do the notes tonight. I want to do your notes. Do.